father heinrich as kindred spirit by betty e chmaj

7/22/2019 Father Heinrich as Kindred Spirit by Betty E Chmaj

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father heinrichas kindred spiritor how the log-house composerof kentucky becamethe beethoven of americabetty e. chmaj

Thine eyes shall see the light of distant skies:Ye t, C O L E thy hea r t sha ll bea r to Eu rop e ' s s t r an dA l iv ing image of the i r own br igh t landSuch as on thy glorious canvas l ies .Lone l akessavannahs whe re the b i son rovesRocks r i ch wi th summer ga r landsso lemn s t reamsSkies where the desert eagle wheels and screamsSpr in g b loom a nd a u t um n b laze of bound le s s g roves .

Fair scenes shall greet thee where thou goestfairBut d i f fe ren teverywhere the t race of men.Pa ths , ho m es , g rav es , ru ins , from the lowes t g lenTo where life shrinks from the fierce Alpine air,Gaze on them, t i l l the tears shall d im thy s ight ,But keep tha t ea r l ie r , wi lder image br igh t .W il l i am Cu l len Bryan t , "To Co le , thePa in te r , Depa r t ing fo r Eu rope" (1829)More than any o the r s ing le pa in t ing , Ashe r B . Durand ' s Kindred Spiritsof 1849 has come to speak for mid-n ine teen th-cen tury America (F igure 1) .

FIGURE ONE above): Asher B. Durand, indred Spirits 1849). The painter Thomas Cole andthe poet William Cullen Bryant are shown worshipping wild American Nature together from aprecipice high in the CatskiJI Mountains.Reprinted by permission of the New York Public Library.0026-3079/83/2402-0035$0l .50/0

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The work po r t rays th ree k inds o f k in sh ip : the Amer ican ' s k in sh ip wi thNature , the k insh ip of pa in t ing and poe t ry , and the k insh ip of bo th wi th" the wi lde r images" o f spec i f i c a l ly Amer ican l andscapes . Commiss ionedby a pa t ron a t the t ime of Thomas Cole ' s dea th as a token of g ra t i tude toWill iam Cullen Bryant for his eulogy a t Cole 's funeral , the work showsCole and Bryan t admir ing toge the r the k ind o f images bo th had commemora ted in the i r a r t . The se t t ing is the wi lderness a rea of the Hudson RiverVal ley they had loved and once explored toge ther , bu t tha t landscape hascome to represen t , over the years , the American landscape genera l ly 1 (seeno te 1 fo r F igu re 2 ) .T he com pos i t ion of the pa in t ing i s d ram a t ic ind eed ,thea t r ica l . The dark foreground t rees ac t as a cur ta in drawn as ide to revea lthe panorama of Nature , the cen tra l ac tor in the drama. The two f iguresare spec ta tors who have come here on some de l ibera te walk in to thecountrys ide . The overa rch ing t ree enfo lds them from above , f raming thescene with proscenium arch as our eyes fol low the s tream that f lows frombeneath their feet , upward to the waterfa l l and then to the mis tedmountains that disappear into the radiant haze of sky. I t is a vis ion ofgolden conc ord , an d i t speaks of peace and ha rm on y a t the sam e t ime tha tthe ju t t in g rocks , the thu nd er in g falls and the b las ted t rees in thefo reg round speak to the wi lde rnes s in Na tu re ' s d rama . Th i s kind ofcompos i t ion , evoking awes t ruck innocence before the New World ' s untamed Nature , would come to seem to ce r ta in la te r genera t ions no t mere lyd ram a t ic bu t me lod rama t ic exces s ive in i ts en thu s ia sm , em ba r ra s s ing lyrhapsodic .

The k insh ip wi th Na tu re tha t Kindred Spirits speaks to was a majortheme in n ine teen th-cen tury a r t and thought , a conc lus ion conf i rmed by agood dea l o f schola rsh ip . From Perry Mil le r ' s vo lumes a rguing for thecentra l i ty of the be lie f in A m eric a as N at u re ' s N a t io n , th rou gh Ja m e s T .Ca l low ' s demons t ra t ion in Kindred Spirits (1967)a vo lum e nam ed a ft erthe pa in t ing tha t the Kn icke rbocke r w r i t e r s in fluenced the Hud so n Riv e rpa in te rs , to the br i l l ian t recen t wri t ings of Barbara Novak and the tencontributors to the cata log of the 1980 American Light exhib i t in Washington , D .C . , the reapp ra i s a l s o f "Amer ican a t t i tudes toward Na tu re andna t iona l iden t i ty du r in g a c ruc ia l pe r iod of ou r coun t ry ' s de ve lop m en t"have y ie lded a persuas ive por t ra i t 2 the portra i t of a nation in the thral l ofNature . The impac t o f th is schola rsh ip has been in te res t ing , pa r t icu la r ly inthe f ie ld of American painting. Although a few decades ago i t was notun com m on to find m uch o f A m er ican l andscape pa in t ing de sc ribed a sna ive or melodramat ic , today the works of Cole and Freder ic Church , theLuminis ts , the Hudson River School , even Alfred Bie rs tad t , a re a l l h igh lyregarded. But what I f ind especia l ly s ignificant is that the real heroes toemerge f rom the two books by Novak and the American Light cata log ( theworks I would c red i t mos t wi th in i t ia t ing the revolu t ion in a t t i tude) a re no tthe landscape pa in te rs themse lves , no t even the new-found Luminis ts , bu tRa lph W a ldo Emerson and Henry Dav id Thoreau . As in Ca l low ' s s tudy , i ti s the ana logy be tween l i te ra ture and pa in t ing , and the re la t ion of bo th tothe cu l ture of the t imes , tha t va l ida tes the a rgument about the ro le of

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Nature in the th ink ing of Americans of tha t t ime . Thus the schola rsh ip toois founded upo n the "k in d r ed s p i r i t s " motif, the in te rd isc ip l inary perspective.What i s miss ing f rom the p ic ture i s mus ic . Nowhere in th is body ofschola rsh ip , f rom the in f luen t ia l vo lumes of Perry Mil le r to the AmericanLight ca ta log , i s the re an e ffor t to cons ider wh a t Am eric an com posers werecontr ibu t ing toward the c rea t ion of the American myth of Nature , to askwhe the r anyone was a t t empt ing to do in mus ic wha t the Hudson Rive rpa in te rs were do ing in pa in t ing and a lmos t a l l our major wri te rs inl i t e ra tu re . W as any compose r add re s s ing the tw in themes of N a tu re andN at io n as a rde nt ly as the severa l gen era t io ns of wr i te rs and a r t i s ts , andwith as enthusias t ic a fol lowing? Had such a quest ion been asked, Icon tend , one answer wou ld have come thunde r ing back : An thony Ph i l ip

H e i n r i c hIt is my purpose in this essay to make the case for Heinrich (1781-1861)as the musical counterpart to the landscape writers and art is ts . Specifical lyI wish to a rgue tha t a s tudy of Heinr ich 's b iography , h is mus ica l in ten t ionsand the responses of audiences to his work wil l help not only to assess hiscon t r ibu t ion to Amer ican mus ic bu t more impor tan t , to t e l l u s some th ingabout American cu l ture and soc ie ty in h is t ime . My a im is to respond to acha l lenge offe red many years ago by Oscar Sonneck , the man a f te r whomthe Sonn eck Soc ie ty is na m ed : " 'F a t he r H ein r ic h , ' easi ly the m os tcommanding f igure as a composer in America before 1860 and perhaps thef i rs t symphonic composer to u t i l ize Ind ian themes and to d isp lay , howeverna ive ly , na t iona l is t ic 'A m er ic an ' tende nc ies , is no t even men t ion ed in theh i st o ri es of A m e r i c a n m u s i c . " 3 Al though He in r ich ha s been men t ionedsince in the his tories and some few of his works recorded, the condescens ion towards h im is consp icuous . Like some of the landscape pa in te rs as h o rt t i m e a g o , H e i n r i c h is r e g a r d e d as t o o " s e n s a t i o n a l " a n d " b i z a r r e , "t o o " e x c e s s i v e , " t o o " e m b a r r a s s i n g " t o b e t a k e n s e r i o u s l y . 4 Perhaps i t ist ime for Heinrich too to be rescued.

iIn the yea r 1826 , when Thomas Co le ' s "wi lde r images" o f Amer icanN a tu re we re ju s t beg in n ing to change the d i rec t ion of Am er ican pa in t ing ,wh en Cu l len Bryan t was engaged in t e ach ing Am er ica tha t N a tu re hadspec ia l hea l ing powers , Anthony Phi l ip Heinr ich gave a Farewel l Concer tin Bos ton . On the p rog ram were two "mus ica l b iog raph ica l songs" whosewords es tab l ished h is k insh ip wi th Cole and Bryant , Na ture and the age .

Be tween them, the two songs provide the ou t l ines of the Heinr ich Legend .For the Bos ton performance , He inr ich h imse lf sang the f i rs t song , "TheLog House : A Sylvan Bravura" ; fo r a la te r performance , in 1842 , he le t aprogram note speak for h im: "Descr ip t ive of scenes in the au thor ' s l i feCo m pose d in a wi ld fo re st of Ken tucky , wh i the r M r . H e in r ich then aBo hem ian s t range r had been d r iven by the s to rms of adve rse f o r tu ne . " 5That is to say, the four verses told a true story:

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Far in the West an endless Wood,Sighs to the rush ing Cata rac t ' s f lood'Twas the re an humble Log-house s toodT o f a m e u n k n o w n ;There f i rs t loved Mins t re lsy I woo 'd ,And woo 'd a lone .

Th e thu nd e r in g Fa ll the bu bb l ing s t reamM u r m u r i n g m i d s t s t o n e s , a n d r o o t s b e t w e e n ;W here Na tu re ' s wh ispe rs , fo r some themeTo insp i re my layTri l l ing Arpegg ios th ro ' my d ream,With wild sweet play.Thro ' g loom and mis t s , Heaven ' s g lo r ious bow,Hope, bu rs t ing g leam 'd h i s sunny b row,Bidding the wi ld wood mins t re l goFar to the East;And careless scat ter midst her glowHis forest feast.H e c a m e a w a n d ' r i n g , w a y w a r d C h i l d ;A Native flower, free and wild;W ith ard ou r f ierce with feelings mild;' T i s G e n i u s ' b o o nThen swep t h i s Mins t re l Ly reand smi led ;

For fear had flown.The Bos ton audience had probably heard the ta le tha t p rovided the bas isfor the song , the s tory of Heinr ich 's mys t ica l convers ion in the Kentuckyforest years before , how (as he explained in a note a t tached to anotherwork) he ha d hea rd the " genii of m u si c " s in ging to him in the fores t , h owhe had p icked up a s tick and w ri t ten o u t the no te s " scored up on tha tmys t ic g round in the s ta te o f Kentuckythen the abode of Sylphs andN a i a d s " ( U p t o n , 2 9 2 ) a n d r e m e m b e r e d t h e m e v e r a f t e r w a r d , h o w t h a ts ing le exper ience had begun h is ca reer as American composer .T h e se co n d s o n g o n t h e B o s to n p r o g r a m , " T h e B o h e m i a n E m i g r a n t :Farewel l Song by An Amateur , " was a persona l fa rewel l to America a t at ime w hen H ein r ich d id no t know wh en, i f ever , he would re tu rn . I tdescribes an image a lready pers is tent in American culture , the f igure of thegra te fu l emigran t :

" T h e B o h em i a n E m i g r a n t "(words by Henry C. Lewis for A. P . He inr ich)W he n I th ink of the days of m y Chi ldh ood and H o m e,Or the dream of the years that have long past away,The deep s igh of my heart wil l too often arise ,And darken the sun of the happies t day. . . .T h o ' thy dau gh te rs and f r iends a re so ch arm ing and t r ue ,Yet my heart will still feel for my own native land.And I love thee , Columbia , wi th pa t r io t zea l ,Thy soil ever dear with my blood I 'd defend,

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Should a foe to thy freedom dare s tep on thy shore ,Tha t shore , which is a lways the Emigran t ' s f r iend ,Then b lame not the s igh tha t wi l l somet imes a r iseFor the land of my b i r th as thought l ingers the re ;Yet no c l ime but my own, would induce me to roam,Fr om a C ou nt ry so f ree , and f rom da ug hte rs so fai r

However inferior as poetry, the verses deserve to be se t beside Bryant 'sfam ous sonne t o f th ree years la te r (p . 1 , above) w arn ing Co le aga in s t thelu re o f Eu rope . He in r ich ' s song g ive s u s the emot ions o f the Europeanemig ran t yea rn ing fo r h i s home land ye t a s su r ing Amer ica , wh ich t ended tobe nervous about such th ings , tha t he s t i l l loved her . Bryant ' s l ines , bycon tras t , seek to de l inea te the im po rta n t d i ffe rences be tw een Eu ro pe an dAmerica in a way which, while trying to be fa ir , betrays a dis t inctly pro-Amer ican p re fe rence . Be tween them, He in r ich ' s and Bryan t ' s ve r s e sdo cu m en t the im po rtan ce to a r t i s ts of tha t symb ol ic oppo s i t ion b e tw eenEurope and Amer ica wh ich had become cen t ra l to Amer ican th ink ing bythen and which would reach i ts ful les t express ion in the writ ing of HenryJ a m e s .I t is my contention, f irs t of a l l , that the kinship of the art is t with wildAm er ican N a tu re ce leb ra ted in the "L og -H ou se S o n g" i s the s ame k ind o fk insh ip documen ted fo r l i t e ra tu re and pa in t ing in Durand ' s Kindred Spiritsand tha t He inr ich 's mus ica l in ten t ions ought to be examined in th is l igh t .A key word to beg in such an explana t ion is , o f course , Romant ic ism.Heinr ich 's mys t ica l exper ience in the Kentucky woods is the very s tuff o fRomant ic legend . I t f inds i t s counte rpar t in the wri t ings of Bryant andThoreau and W hi tman ( th ink o f the mys t i c a l expe r ience wi th Na tu re in" W h e n L i lac s Las t in the D oory a rd B lo om 'd " ) ; it is e choed in C o le ' sefforts to cal l upon the muse of painting in his own private poems:

Ye moun ta in s , woods and rocks , impe tuous s t reams ,Ye w idesp read he aven s , speak ou t , O speak for m eHave I no t he ld communion deep wi th you ,And l ike to one who is enamored , gazedIn tense ly on you r eve r -va ry ing cha rms?

H e in r ich ' s c a se, l ike those of Co le and Bryan t , D ur an d , W hi tm an andT h o r e a u , u n d e r s c o r e s t h e i m p o r t a n c e of c o m m u n i n g w it h A m e r i c a nN a tu re in the m ak i ng o f wh a t was felt to be a "d i s t inc t ly A m er ic an "a r t i s t i c t empe ramen t .I t unde rsc o re s som e th ing m ore . He in r ich i s the qu in te s sen t i a l innocen tin the Romant ic American legend in which the gra te fu l immigran t , r i s ingout o f obscur i ty and pover ty , s t ruggles wi th despa i r and overwhelmingodd s , devotes h is ta len ts to the grea te r g lory of h is ado pted cou ntr y a nd isrewarded by a s ton i sh ing succes s . He ou t -Amer ica ' s Amer icans , ove rcomesthem wi th pu rp le p rose . He t rans la te s the p i lg r im jou rn ey w h ich b r oug h tthe immigran t s ove r in to an even t o f my th ic p ropor t ion . He wr i t e s hugescores for g igant ic o rches t ras to en la rge upon h is sen t iments . (As Hi tchcock has no ted , the Romant ics loved the orches t ra and reve led in

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g i g a n t i s m .6 ) The complex programs for these scores , bu t t ressed byprogram notes , become h is manifes toesas usefu l to expla in ing theAmerican mind as the pre face to Leaves of G rass.H e can take any pa rt of theAmerican s tory and c rea te a na t iona l ep ic . He can , fo r example , t rans formthe ann ua l mig ra t ion of pa s senge r p igeons in to a " C o lu m b ia d . "Heinrich 's program for such an epic f l ight , wri t ten c . 1857, is a s tr ikingexam ple of h is im agina t ive na t io na l ism . I t s scenar io , p roba bly insp i red byhis c lose f r iendsh ip w i th Jo h n Ja m es A ud ub on , reca lls a com m en t m ad e byE . P . R icha rdson abou t Audubon ' s po r t ra i t s : "B i rds we re h i s sub jec t , bu tN a t u r e w a s h i s t h e m e . " 7THE COLUMBIAD: OR, MIGRATION OF AMERICANWILD PASSENGER PIGEONS

In t roduc t ion . A Mys te r ious W ood land Scene , the a s sembl ing o f thewild passenger pigeons in the ' far west ' for their grand fl ight ofmig ra t ion .

I . A N D A N T E E D A L L E G R O T h e f littin g of b i rd s a n dthunder- l ike f lappings of a pass ing pha lanx of Americanwild pigeons.I I . T h e aeria l arm ies a light on the prim eva l fores t t rees , wh ichbend and c rash benea th the i r we ight .I I I . A N D A N T E E D A N D A N T I N O A t wilig ht sce ne. T h ecooing of the doves previous to their nightly repose.

I V . A L L E G R O M O S S O W i t h A u r o r a c om e s t he co nflict ofthe Beechnuts .V . A D A G I O E D A L L E G R E T T O C A N T A B I L E T h e vastconc lave in grand counc i l reso lve to migra te e lsewhere .

V I . M O L T O A N I M A T O S u d d e n r is e a n d flight of t h e m y r iad winged emig ran t s .V IL P I U M O S S O T h e a la rm o f the hu n te r s ' r if le s s ta r tl e s themul t i tude . The wounded and dy ing b i rd s s ink tu -mu l tuous ly ea r thward .

V I I I . A L L E G R O A G I T A T O I n B r oo d in g a g it at io n th e c ol um bines continue their f l ight , but darkening the welkin asthey u t te r the i r ae r ia l requiem, bu t pass ing onward ,ever onward to the goa l o f the i r nomadic wander ing , thegreen savannas of the New World .I X . F I N A L E The Columbiad. Marc ia g rande ed a pa s so dop -p io . American fo lk tunes : Hail Columbia an d YankeeDoodle.

Th e image of pa s senge r p igeons a r r iv ing t r iu m ph an t in the New W or ld tothe tunes of Hail Columbiaa n d YankeeD oodle,m arc ia gr an de , is h i la r iou s I tmust a lso have been exhilara t ing to patr iots in the audience, especia l lyem igr an t patr iots invited to identify w ith the bir ds . I t was ju s t suchoverb low n epics tha t ea rned for H einr i ch the labe l En thu s ias t , " t h i sco un try ' s f irstand w i thou t dou bt i ts m os t wi ldly en t hu s ias t ic Ro m ant ici n m u s i c . " 8

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iiTo unde rs tand how He in r ich came to t r ans la te the Roman t ic a sp i ra t ions of his age into specifical ly American terms requires some at tention tohis biography, not for its own sake but for the way it intersects with the

h is tory of A m eric an dev e lop m ent an d i l lumina tes his mu s ica l a im s .Born in Bo hem ia in 178 1 , H einr ich a t the age of n in e teen in her i ted ala rge for tune and bus iness f rom h is unc le . As a wel l - to -do merchant , hewas ab le to t rave l and explore new cu l tures (h is wander lus t becoming par tof the legend) , even making a qu ick t r ip to America in 1805 " to take apeep a t the new wor ld . " W hen the Napo leon ic wa rs th rea tened thestabil i ty of the Austrian empire , he decided to re locate his business inA m erica . H e a rr ived in Phi la de lph ia in 1810 , wh ere he is kno wn to haveserved wi thout sa la ry as mus ic d i rec tor o f the Southward Thea t re .(Thea te rs were the pr imary locus for secu la r mus ic in America un t i l longafter the Civil War, their orchestras offering a lmost the only employmentto mus ic ians who p layed conce r t in s t rumen ts . ) Bu t He in r ich ' s s t and ing a smi l l iona i re "g en t l e m an a m a t eu r" in the c ity of Ben jam in F ran k l in andFranc is Hopkinson d id no t las t long . The Aus t r ian f inanc ia l c rash of 1811wiped out his fortune in a s ingle s troke, and Heinrich was to l ive for therest of his days in poverty.After a tragic vis i t to his native Bohemia in 1813 (during which adaughter was born but left behind, and after which his wife died), here turned and walked the th ree hundred miles f rom Phi lade lph ia toP i t t sbu rgh to take a jo b as m us ic d i rec tor o f a thea te r . T he thea te r wasdingy , the jo b preca r iou s , an d he soon lef t, co n t in u in g h is jo ur ne y dow nthe Oh io R ive r un t i l he reached the "wi ld s " o f Ken tucky . Tha t s even -hun dred -m i le jou rne y he even tua l ly pu t in to a p iano work ca ll ed " T h eMins t re l ' s March , o r Road to Ken tucky , " wi th the fo l lowing mark ings onthe score:

A T e m p o G u i s to ( D A F I L A D E L F I A ) . Po st H o r n . M a r k e tStree t Hi l l . Tol l Ga te . Schuylk i l l Br idge . Turnpike . Lancas te r (s topad l ib) [because in those days , the s tagecoach did not a lways s top a tL a n c a s t e r ] . March . A l leghen ie s . Fo r t P i t t . Embarca t ion . Sa lu te .Pas sage on the Oh io . The Rap ids . S tand ing in fo r Po r t . Cas t ingAnchors . S ide S teps . Land ing and Chee rs . S ign o f the Ha rp [at a v e r n ] . 9Every s tage of the jo ur ne y ha d bee n insc r ibed in h is m em or y a t th is c ruc ia lperiod in his personal his tory. The transformative influence of that longwalk into wilderness country has i ts paral le l in the career of Thomas Cole ,who a l so came a s an immigran t s eek ing the Amer ican p romise and , whenhis family cam e upo n h ard t im es , wa lked h is way across wi lderness cou ntryon h is way to becoming an a r t i s t , lea rn ing h is t rade and ske tch ing thena t ive landscape a long the way.No sooner had Heinr ich a rr ived in Lexington than he organized aGrand Concer t in which he p layed so lo v io l in . (Al though he had beengiven a few lessons as a child , he learned to play primari ly by teaching

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himse lflike Coleen route . ) The Lexington concer t inc luded one of thef i rs t known performances in America of a Bee thoven symphony, Bee thoven becom ing a m a jo r in f luence on bo th He in r ich and n ine tee n th -ce n tu ryAmerican cu l ture . Other performances in o ther c i t ies fo l lowed, on p iano aswell as viol in , and a l though one cri t ic declared that his "excellence on thev io lin was never surpassed in the wes te rn coun try , ' ' H e in r ich knew he w ass t i l l an amateur . Exhaus ted , depressed and i l l , he re t rea ted to the woods tol ive in a log cab in near Bards town, Kentucky , to prac t ice h is ins t rumentwhi le rega in ing h is s t rength . " I wandered in to the wi lds of Kentuckyhoping there to hide my griefs from the world, or a t leas t , to f ind that theso l i tude wou ld impa r t i t s t r anqu i l i ty to my mind" (Up ton , 97 ) .H e re the l egend bega n of the " s t ra ng e mu s ic ian " p lay ing " w e i r dmidnight melodies" in h is loghouse in the wi lderness . Once he was v is i tedby a "prowling negro" who offe red h im a " f igpenny b i t" to p lay a song hehad been rehea rs ing , " a dead m arch in hon or of m y poor depa r ted w i fe . ""This adventure wi th the negro , a t dead of n igh t , in the lone ly fores t ,seemed to me ra ther poetical . I l iked the good ear, tas te and generosi ty ofthe sable vis i tor exceedingly." In t ime the incident found i ts way into ani l lu s t ra t ion ado rn ing the cove r o f "The Log-house Song . " W hi le l iv ing inh is loghouse , He inr ich came in to in t imate contac t wi th Ind ians of theregion, re ta ining a l l h is l i fe an intense interes t in Indian r i tuals , customsand his tory. Here too he began to compose, a t the age of forty , not having

had a s ingle lesson in theory or composit ion but inspired by the mysticalwilderness exp erien ce w hich , if we are to believe his le t ter s , furnished hi mwith im press ions to las t a l i fe t ime. Ev er after, h e wou ld sign himself " T h eL o g ho u se C o m p o s e r of K e n t u c k y , " " T h e W i l d w o od T r o u b a d o u r " a n d" M i n s t r e l o f t h e W e s t e rn W i l d s . "In 1820 , Heinr ich publ ished a l l the manuscr ip ts he had wri t ten underthe title The Daw ning of Mu sic in Kentucky, or ThePleasure of Harmony in theSolitudes of Nature, O p e r a P r i m a , a n d a s u p p l e m e n t a r y v o l u m e , The WesternMinstrel, of "or ig ina l , mora l , pa t r io t ic and sen t imenta l songs for the vo ice

and p ianofor te , in te rspersed wi th a i rs , wa l tzes , e tc . " These works , asWil l iam Upton has sa id , were un ique in American mus ica l anna ls , o f tenf lor id and over ly ornamented bu t o r ig ina l and buoyant , the i r t i t le s evokingbo th Amer ican and European themes . In the p re face , he announced h i sintent . Should he be able by his efforts " to create but one s ingle Star in theWest, no one would ever be more proud than himself, to be called anAm erican Musician. " 1 0 The collect ions were an immediate success , and theL o g h o u se C o m p o s e r w as s oo n n a m e d " T h e B e e th o v e n of A m e r i c a , " alabel that followed him the rest of his life, despite his efforts to disclaim it. 1 1Urged by the press to leave " the wi lderness where he now languishes" foran a tmosphere more congenia l to h is ta len ts , he moved to Bos ton , where abenefi t concert of 1823 announced him as the "firs t regular or generalAmericanc o m p o s e r " ( U p t o n , 7 0) .

Th i s s eems a good momen t to in te r rup t He in r ich ' s b iog raphy longenough to se t his s tory into the context of American music his tory. I t wason the occasion of H ei nr ic h 's a r r iva l in Bos ton tha t the m us ic co lum nis t for

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Boston ' s inf luent ia l journal Euterpeiadwas m ove d to me di ta te on the s ta teof music in Amer ica :I t i s cer ta in tha t the Amer icans do not approach the animatedinteres t which the na t ives of the Cont inent of Europe mani fes t for

the ar ts and for ar t is ts . Whether we shal l ever come to bestow laurelcrowns, whether our ci t ies wil l be ever eager to enjoy and to rewardthe works of l iving poets , painters , and musicians, i s a point yet tobe de t e rmined .In music, however , the general and exal ted est imat ion of ar tsg ives t he Eu rop ean p ro fes sor s such sup e ra bu nd an t enc oura gem entover our own , . . . we long to cast an eye in to the com ing on oft i m e , and to ascer ta in whether i t be granted to our own count ry toemula t e t hemwhethe r na tu re , i n t he d i s t r i bu t ion o f qua l i t i e s ,den ies to on e race w ha t she has so l iberal ly gra nte d to ano the r . . . .These remarks are e l ic i t ed in observing the cur rent of publ ictas te evinced and encouragement he ld out to the . . . au thor of TheDaw ning of Music in Kentucky, . . . ju stl y styled the Beethoven ofAmerica, as he is actual ly considered by the few who have taken thetrouble to ascer tain his meri ts . This or iginal genius is now in thisci ty, . . . and we cannot but indulge the hope, that the l iberal publ icwil l cheerful ly co-operate in vindicat ing neglected genius, and ofsecuring new and valuable services to our ci rcle of musical science(Augus t , 1823) .1 2

I t seems c lear tha t Heinr ich ' s appearance on the Amer ican scene coinc idedwi th the shy beginnings of a yearning for a Grea t Amer ican Composer , ayearning which para l le led the emerging na t ional i s t i c sent iments in theother ar ts . Given i ts his tory of musical t radi t ions, Boston was the r ightlocale for put t ing such sent iments to the test .The f i rs t outburst of nat ional is t ic sent iment in the his tory of Americanmusic centered around Wil l iam Bil l ings of Boston and others of the " f i rs tNew En gland scho o l " o f com pose r s , a g rou p o f Yankee t unesm i ths w hoseemergence coinc ided wi th the Revolut ionary War and whose asser t ions ofindependence took place within the context of rel igious music, their wi ldand l ively fugeing tunes becoming the popular music of the day. A wave ofreac t ion agains t these Amer ican or ig ina l s in favor of "higher" Europeantastes coincided with the postwar per iod, when a publ ic weary of patr iot icexcess yearned for e legance , and when the resumpt ion of ocean t ravel andconcer t cul ture made the ques t for e legance poss ib le . A new Europeanismem erg ed , fed from two qu i te sep ara te sourc es profes sional ism infusedfrom w itho ut , w hich was largely related to secular mu sic, an d reforminst i tuted from within, related to nat ive rel igious t radi t ions, includingthose of Boston.Among the emigrant profess ionals who came to Amer ica soon af te r thewar were A lexander Re inag l e , Raynor Tay lo r and Ben jamin Car r t o se t t l ein Ph i l ade lph i a ; t he Ja m es H ewi t t s , t he Pe t e r van H age ns an d Vic to rPeless ier to New York; and to Boston, the f lamboyant organis t Dr . GeorgeK. Jack son and the m an who would becom e " f a t h e r " o f t he Am er i ca norches t ra , Got t l i eb Graupner . Soon af te r they ar r ived, these profess ionals

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by and la rge took charge of A m eri can m us ica l a ffa irs . Wel l t ra in ed in the i rprofess ion , some a rr iv ing wi th doc tora tes in hand , these emigran ts qu i tena tura l ly thought in te rms of formal s tandards of performance . As a groupthey tended to assume tha t the correc t d i rec t ion for mus ic in America wasthe d i rec t ion i t had fo l lowed in Europe . For the mos t par t they regardedAmer ican mus ic a s an unde rdeve loped a r t in an undeve loped coun t ry , andthey contr ibu ted the i r ta len ts toward improving mat te rs in the d i rec t ion ofscience and tas te . I t was natural that they should seek to define s tandards ofexcellence by looking to the models they knew best , f i rs t from England,la te r f rom Germany. I t was no doubt to the op in ions of such men tha tHeinr ich addressed h is p re face to The Daw ning of Mu sic in Kentucky.The s econd sou rce fo r the European i sm tha t emerged in Amer icanmus ic a t th is t ime was the e ffor t to " re form" na t ive re l ig ious mus ic , an

effor t tha t reached i t s he igh t under Lowel l Mason and Thomas Has t ingssome t ime a f te r the founding of the Hande l and Haydn Soc ie ty of Bos tonin 1815 . At a t ime when sacred and secu la r mus ic were vy ing fordominance in America , the par t icu la r coup accompl ished by the soc ie ty ,symbol ized by i t s ve ry name, was to reconc i le the i r compet ing a imswithout ever acknowledging the i r an tagonism. In a consp icuous tone ofin jury , the soc ie ty ' s cons t i tu t ion dec la red bo th tha t mus ic had been ignoredin America ( tha t was the premise of the emigran t p rofess iona ls ) and tha t i tm ere ly need ed re form ( the prem ise of the na t ive re form ers ) , the c om m onagreemen t be ing to focus on European mas te r s .Preamble, Constitution oftheHandel and Haydn Society ofBoston

While in our country a lmos t every ins t i tu t ion , po l i t ica l , c iv i l ,and mora l , has advanced wi th rap id s teps , whi le every o ther sc ienceand art is cult ivated with a success f la t tering to i ts advocates , thead m ire rs of m usi c f ind their belove d science far from excit in g thefeelings or exercis ing the powers to which i t is accustomed in theOld World . Too long have those to whom heaven has g iven a vo iceto perform and an ear that can enjoy music neglected a sc iencewhich has done much toward subduing the fe roc ious pass ions ofmen and g iv ing innocent p leasure to soc ie ty ; and so abso lu te hasbeen their neglect , that most of the works of the greates t composersof sac red mus ic have never found those in our land who have evena t t empted the i r pe r fo rmance . Impre s sed wi th the se s en t imen ts , theunders igned do hereby agree to form themse lves in to a soc ie ty , bythe name of the Hande l and Haydn Soc ie ty , fo r the purpose ofimproving the s ty le of performing sacred mus ic and in t roduc ingin to more genera l use the works of Hande l and Haydn and o thereminent composers . . . . 1 3

With the founding of the Hande l and Haydn Soc ie ty , neg lec t o f theEuropean mas te rs was dec la red a na t iona l s in . I t was no t a p ropi t iousa tmosphere for advanc ing the cause of na t iona l mus ic .Bos ton mus t have found i t d i f f icu l t to "p lace" Anthony Heinr ich inre la t ion to these amorphous t rends . The very year he was ha i led as theBee thov en of A m eric a , the Ha nd e l and H ay dn S oc iety pub l ished i t s f irst

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collect ion of hy m ns and p sa lm s, ma ny of them c om posed by the m an whocould be ca l led the ant i thes i s of Heinr ich , the leading Europeanis t of theage and i t s most inf luent ia l music l eader , the th i rd-genera t ion Yankee ,Lowell M aso n . H e in r i ch was a s mu ch an em igran t a s were G rau pn er ,T h e cont ras t be tween H ein r ich and M as on i s not wi th out i tsi ronies . The Bohemian emigrant was the musica l na t ional i s t , whi lethe na t i ve -born Yankee was t he European i s t . K ingman prov idesth i s i n t e r es t i ng compar i son : "He inr i ch was t he imprac t i ca ld ream er , ep i t omis ing eve ry n ine t een th -ce n tu ry no t ion of t he ' a r t is t , ' sacr i f icing everything for his ar t , and going from great weal thto extreme poverty; Mason was the pract ical man of affai rs , theorganizer , the bui lder , whose l i fe t raversed a path from modestm ean s to com for table for tune . I t is ha rd even to ima gine the m the

Bohemian and the Yankeeboth l iv ing and working in the samecount ry . They were near contemporar ies , and both were in Bostonin the ear ly 1830 ' s . They very probably met , but we have no recordof i t , nor has e i ther ment ioned the o ther in any surviving wr i t ingthat we know of . . . . Heinr ich 's or ientat ion was secular , esthet ic ,and, by vi r tue of b i r th as wel l as cul tura l t emperament , bas ica l lyEuropean . Mason ' s o r i en t a t i on t o mus i c was r e l i g ious , d idac t i c ,a n d b a sic a ll y A m e r i c a n . " ( K i n g m a n , u n p u b l i s h e d m a n u s c r i p tf ragment , see note 8 . ) Yet Heinr ich became Amer ica ' s f i r s t musica lnationalist in secular music (Bill ings was first in religious music)and Mason her f i r s t major Europeanis t .Jack son , He wi t t , van H ag en a nd the res t , some of wh om h ad di splayed as imi lar in teres t in heroic Amer ican subjec t -mat ter (Hewi t t , for example , in1792 had wr i t t en an over ture in twelve movements "express ive of a voyagef rom Eng land to A m er ic a" th a t ant ic ipa ted He inr ich ' s obsess ion wi th thevoyage crossing) . But i t made al l the difference that Heinr ich was not ane m i g r a n tprofessional that he was a creat ion of the American soi l . That wasthe point he underscored in his preface to The Daw ning of Mu sic in Kentucky,emphas iz ing both h i s associa t ion wi th the wi lderness and the advantage ofbeing se l f - taught . Humbly ye t de l ibera te ly , Heinr ich d i s tanced himsel ffrom those who were, as he said, "celebrated for their meri t , especial ly asr e g a rd s I n s t r u m e n t a l execution, but who have never , l ike h im, been thrown,as i t were, by discordant events , far f rom the emporiums of musicalscience, into the isolated wilds of n at u re , . . . tuto red only b y A L M AM A T E R . " 1 4 Al though a re l ig ious man, Heinr ich seems not to haveat tempted wri t ing for the s inging schools , the most ready source of incomefor composers and teachers in his t ime, and he apparent ly never crossedswords wi th or sought ass i s tance f rom Lowel l M as on . In su m , as anemigrant amateur devoted to secular na t iv i s t a ims , Heinr ich was suigeneris.Heinrich had not l ived long in Boston before he announced, af ter aser ies of successful concerts , that he intended to sai l for Europe, buoyed byhis new reputat ion. He was homesick and wanted to f ind his lost daughter ,but he also must have fel t the same compunct ion to test himself against

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Europe tha t mo t iva ted many o the r a r t i s t s to t ake the ob l iga to ry GrandTou r . " A m er ic a dem an ds o f me tha t I shou ld p rove myse lf to En g lan d a sworthy of her adopt ion ," he expla ined in a le t te r appea l ing for he lp f romthe Am er ican M in i s te r in Lo nd on , c . 1823 (U p to n , 97 ) .As th ings tu rned ou t , He inr ich 's f i rs t t r ip to London kept h im there , ins ta rk pover ty , fo r f ive years . He was reduced to p lay ing in the Drury Laneorches t ra to ea rn enough money to buy mus ic paper and h i re a p iano whi lel iv ing on milk and bread . But he cont inued to compose a t a fur ious ra te ,p i l ing up the manusc r ip t s and cons tan t ly appea l ing fo r pa t rons . W hensome compos i t ions a t la s t were publ ished , they were ca l led "mos t s t rangeand wi ld , " "cu r io s i t i e s in mus ic , " the work o f "a s t rong , en thus ia s t i c ,sensi t ive spir i t , cas t upon i ts own energies , with l i t t le of the direct ion, andnone of the res t ra in ts , o f sc ience ." Yet they were pra ised for d isp lay ing"fe l ic itous t ra i t s o f fee l ing ," even of gen ius (U pt on , 9 4-116) .One of the in te res t ing documents of th is per iod was a long poem byBen jamin Gough pub l i shed in the London Morning Advertiser, insc r ibed"To a Mus ica l Enthus ias t . " In i t , Gough b las ted a l l those who had fa i ledto app rec ia te H e in r ich , c a l ling them " t a m e , g rove l ling g roun d l ing s ,pa s s ion le s s and co ld" who had no ea r fo r "na tu re ' s ha rmon ie s . "But, bold Enthusias t , ' t is for such as theeTo b rea the Heaven ' s a tmosphe re and bow the knee , . . .Such , Heinr ich , has t thou known, and fe l t i t s power ,Ming l ing wi th nec ta r so r row ' s b i t t e re s t hou r ,When hermit - l ike and h id f rom vulgar v iew,Thy spiri t f i rs t i ts mighty impulse drew,Twelve weary months wi th in a sun less cave ,'Twas th is tha t swee tened so l i tude , and gaveW hat wor ld ly mi ldews neve r c an de s t royA gush of f resh unut te rab le joy

How the Kentucky log cab in became a sunless cave is a mys te ry , bu t theLondon poe t obvious ly saw the va lue of Heinr ich 's example as a symbolfor the new Romant ic ph i losophy he h imse lf espoused , fo r bo th l i te ra tureand mus ic . Before h is poem was over , Gough spe l led ou t the presc r ip t ion :

Say what is music? Is it not the thrillTha t sorrow checks no tdeath can never k i l l ,Tha t dwel ls in thunder ' s deep and awful vo ice ,And makes the choral gales of spring re joice;The poesy o f soundsthe r i chthe wi ldCrea t ion ' s he ra ldNatu re ' s love l i e s t ch i ld(quo ted in U p to n , 95 -113)Here was a new def in i t ion of mus ic , one in which the words enthusiasm, joy,impulse, mildness and N a tu re wi th a c ap i ta l " N " coun ted fo r m ore tha nscience a n d restraint.To E uro pea n R om an t ic s , i t m us t have seemed log ica ltha t a p r imi t ive who found insp i ra t ion in American fores ts should comeforth to give the defini t ion substance.From his f irs t successes in Boston through the many years he l ived inNew York (a c i ty more congenia l to na t iona l ism in a r t than the home of the

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Handel and Haydn Soc ie ty) un t i l the very end of h is days , He inr ichs t ruggled wi th uncer ta in ty as he sought to t rave l and compose . Per iod ica l lyhe would give concerts to ra ise enough money to survive and travel inEurope, only to re turn, often broken in spir i t but able to ra l ly to newefforts . H is confidenc e in A m er ic a often seem ed s tron gest ju s t before hesa i led , as w hen he ann ou nc ed on a pr og ram of 1843 tha t he in te nd ed " t odisplay in the chief c i t ies of musical renown in the old world, the 'WildW ood Sp i r i t s ' Chan t ' [ an ambi t ious work ca l l ed TheOratorio ofthePilgrims,or the Wild Wo od Spirits' Chant], as an ach ievement in the a r t , which mayclaim considerat ion for his adopted country, as a land of musical sc ience aswell as poli t ica l freedom and high inte l l igence, where every dissonance isbu t a ' s u spen s ion ' of un i ty , to be ' r e so lved ' in to pu re ha rm o ny , " add ingtha t h i s o ra to r io ex tend ing " to F ive o r S ix Hundred pages" wou ld in duet ime be p re sen ted "a s a Legacy to the Coun t ry he ha s adop ted , THELAND OF WASHINGTON "1* Am er ica wan ted to enco urag e h im , g lad tohave a Beethoven of i ts own, glad to bestow on him the affect ionate label"Fa ther" (because of h is shock of f lowing whi te ha i r ) . But the encouragement was mos t ly verba l . America was no t ye t ready to suppor t a fu l l - t imecomposer f inanc ia l ly , and much of Heinr ich 's energy was expended onhucks te r ing for commiss ions . To keep a l ive h is fa i th in America and h isR om an t ic idea ls un de r such pressures mus t have bee n d i ff icu lt . W he nanother Farewel l Concer t o f 1853 genera ted more en thus iasm than t rave lfunds, he was forced to issue a broadside advert is ing his ta lents , pathe t ica l ly appea l ing to pa t r io t i sm by dec la r ing tha t mo s t o f h is com pos it ions had been in sp i red by a "pu re ly Amer ican s en t imen t" (Up ton , 226 ) .He was v ind ica ted th is t ime by t r iumphs in Europe ; these were fo l lowed afew years la ter by i l lness and poverty , and he re turned once more to NewYork in 1859 . There he d ied in penury in 1861 . He was bur ied in theAudubon fami ly vau l t .

iiiThe bes t index to Heinr ich 's v iews on Nature and Nat ion as theyaffected his musical a ims may be found in the t i t les , subti t les and programshe provided for h is works . Among the t i t le s on Ind ian themes wereCom plaint of Logan theM ingo Chief the last of his Race; Pushmataha, A VenerableChief of theWestern Tribe; Pocahantas, Pride of the Wilderness; Tecumseh, or theBattle of the Thames; The Ma stodon; The Indian War Council, va r ious Ind ian" fan fa re s , " " fan ta s ia s , " love songs and wa r chan t s ; and The Treaty ofWilliam Penn with the Indians (subject of Ben jam in W es t ' s g rea t p a in t in g ,

wh ich the quake r Edward Hicks , He in r ich ' s con tempora ry , a l so u sed fo rhis series ofPeaceable Kingdoms). T h e link to A m eric an N at ur e was expl ic i tin such titles as The Moan oftheForest or theCherokee s Lament; Legends oftheWild Wood; The Hunters of Kentucky a n d The War of the Elements and theThundering of Niagara. The las t of these , a "capriccio grande for ful lorchestra ," was especia l ly important for i ts choice of subject . To thena t iona l is t ic n ine teen th cen tury , Niagara Fa l ls definedA m e r i c an u n i q u e -

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ness . I t was , a s Dav id Hun t ing ton ha s s a id , the g rea t Amer ican me ta phor " th e A m er i can ' s my th ica l De luge wh ich washes away the m em oryof an O ld W orld so tha t m an m ay l ive a t ho m e in the N ew . . . " 1 6N iaga ra ado rne d a hos t o f A m erica n prod uc ts and a r ti fac ts ( inc lud ingAmerican pianos), wri ters c i ted i t constantly and a success ion of greatpa in te r s sough t to c ap tu re i t s ene rgy on canvas . Thomas Co le made ap i lgr im age to N iag ara before h is t r ip to Eu ro pe in orde r , a s he sa id , " toimpress the fea tures of ou r wi ld scenery . . . so s t rongly on m y mi nd tha t inthe m idst of the f ine scenery of oth er cou ntrie s their gra nd an d beautifulpecu l i a r i t i e s c anno t be e ra sed . " 1 7 In Heinr ich 's work , bo ld contras tsbe tween lyr ic ism and fe rvor a t tempt to cap ture " the impetuos i ty of theca t a ra c t " (U p to n , XI ) the k ind o f d ram a t ic con t ra s t s Co le and Bryan tsough t in the i r po r t ra i t s of Am er ican N a tu re , o r Du ra nd in Kindred Spirits,or for tha t mat te r , Freder ic Church in h is Niagara.

Typica l o f Heinr ich 's pa t r io t ic t i t le s were The Washingtoniad, or TheDeeds of a H ero; a Yankee Doodleiad an d several different Columbiads. TheJubilee, a "g ra n d na t iona l song o f t r iu m p h " (words by W i l l i am E dson ) ,commemora ted American h is tory in the t rad i t iona l way: i t s f ive movem ents descr ibed the a rr iva l of the Mayflower , the d ise m bar ca t io n of thePilgrims, the prayer of grat i tude, the celebrat ion of the Feast of Shells (notto be confused with another orchestra l work cal led The New EnglandFeast ofShells)and cu lmina ted in " T h e P rop he t i c Vis ion of the Fu tu re G lo ry ofA m er ica . " H e re H e in r ich was fol lowing an o lde r "c la s s ica l " pa t t e r n fo rpatriot ic express ion, one that reached i ts c l imax at the t ime of the GreekReviva l (ca . 1820) , when c lass ica l a rch i tec ture and h is tory pa in t ing werethe rage , and when poe ts an d jou rna l is ts poe t ized ab out the " r is i ng g loryo f A m e r i c a . "A newer , m ore rad ica l " r o m a n t i c " na t iona l i sm found exp re s sion inano the r work on the p i lg r ims , a "Grand Na t iona l H is to r i c Ora to r io , " fo rwhich Heinr ich doggedly sought , wi thout success , government funding .Its first part was called The Adieu of the Pilgrims, its second The ConsummationofAmerican Liberty.A "g ra n d h is tor ic fan tas ia " ca l led The Wild WoodSp irit'sChant, or, Scintillations of Yankee Doodle, in t ro du c ing the second par t , wasbased on the premise that a wilderness spir i t had chanted to the PilgrimFath ers to inspir e their love of l iberty . H ein ric h earn est ly exp lained in aprogram note of 1842 tha t such hear ing of vo ices was au thent ica ted bypoe ts o f anc ien t t imes and h is own exper ience . A program note of 1846e x p la in e d " T h e E m b a r c a t i o n M a r c h of t h e P i l g r i m s " :

It is supposed to represent the deep and profound feel ings whichagi ta ted the breas ts o f the noble men, who banished themse lvesfrom their nat ive land in defense of those glorious principlesliberty of conscience and the inviolability of civil rights. . . . Anyidea of the truthfulness of the composer 's descript ion can only beformed by hear ing the mus ic in the orches t ra (Upton , 183-187) .The ques t ion o f " t ru th fu lne s s " was a ma t te r o f some impor tance toHeinr ich . He be l ieved program mus ic was a v iab le means for g iv ing

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ar t icu la te form to American emot ions and events . On a t r ip to Washingtonto seek suppor t , he performed on p iano a compos i t ion of h is ownposs ib lyin ten ded to be pa r t of the ora tor io for P res ide nt Tyle r . Jo h n H i l l He w it thas descr ibed the humil ia t ing scene :The composer labored hard to give ful l effect to his weirdpro du c t io n , . . . occas ional ly exp la in in g som e incom preh ens ib lepassage, representing, as he sa id, the breaking up of the frozenriver Niagara , the thaw of the ice , and the dash of the mass over themighty fa l ls . Peace and plenty were represented by soft s tra ins ofpas tora l mus ic , whi le the thunder of our nava l wardogs and thera t t le o f our a rmy muske trytold of our prowess on sea and land .The insp i red composer had go t about ha l f -way through h iswonderfu l p roduc t ion , when Mr. Tyle r a rose f rom h is cha i r , andplac ing h is hand gent ly on Heinr ich 's shoulder , sa id :' 'That may al l be very f ine , s ir , but can ' t you play us a good oldV i r g i n i a r e e l ? "Had a thunderbolt fa l len a t the feet of the musician, he couldnot have been more as tounded . He a rose f rom the p iano , ro l led uphis manuscr ip t , and tak ing h is ha t and cane , bo l ted towards thedoor , exc la iming:" N o , s i r , I neve r p lays dance mus ic . " 1 8

H ew it t ' s a ccou nt i s con desce ndin g (and schola rs since have jo in ed h i m inmocke ry ) , bu t to He in r ich , t ry ing to demons t ra te how Amer ican Na tu remight be represen ted in new forms of mus ic , the repudia t ion mus t havebeen devas ta t ing .Heinr ich 's eagerness to t rans la te spec i f ic na t iona l sub jec ts in to mus ica lform was a lso apparen t in such top ica l t i t le s as "Tyle r ' s Grand VetoQ u i c k - S t e p , " " T h e T e x as a n d O r e g o n G r a n d M a r c h " a nd " J e n n y L i n d ' sJou rney ac ros s the At lan t i c . " He wro te to the mayor o f W ash ing ton to a sk" t he vene rab le pa t r i a rch J . Q . A d a m s" to " fu rn i sh me a Poe m on theE m an cip ati on of the Sl av es" for a score "w ho se gigan tic effects m ayposs ib ly reverbera te more s ten tor ian th rough the welk in and impress ivethrough the World , than a l l the ponderous d issonant speeches of h iso p p o n e n t s , o r t h e T h u n d e r s o f N i a g a r a . " 1 9 (N iag ara a ga in ) A s tudy ofthe piano piece cal led A Sylvan Scene in Kentucky: Barbecue Divertimento, aspe r fo rmed by Nee ly Bruce on the Vangua rd reco rd ing The Dawning ofMusic in Kentucky, revea ls Heinr ich 's in te res t in g iv ing h is p rogramsmusical authentic i ty as well as topicali ty .2 0 The work opens wi th a "Bug leCa l l o f the Green Moun ta in Boys , " then d iv ide s in to two pa r t s , a" P l o u g h m a n ' s G r a n d M a r c h " a n d a " N e g r o ' s B a njo Q u i c k s t e p . " T h i s isgenre mus ic , comparab le to the genre pa in t ing and loca l -co lor wri t ing ofthe century, and the section on the banjo suggests a familiari ty with thebanjo s tyle of b lack perform ers tha t an t ic ipa tes L ouis M or ea u Go t tscha lk .This i s mus ic to make Heinr ich the k indred sp i r i t no t on ly of Cole andBryan t bu t a lso W i l l iam S idney M ou n t and Geo rge Ca leb B in gha m ,Step hen Fos te r and M ar k Tw ain . W ha t I wish to em pha s ize here is tha t inan e ra when "Tru th to Na tu re " was a ru l ing idea gu id ing l andscape and

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genre pa in te r s a l ike , roman t ic and rea l is t wri te rs , He inr ich 's e f for ts inmusic accurate ly reflect the s t r iv ingsof the age.The s ing le mos t fasc ina t ing d imens ion of Heinr ich 's e f for ts , in myop in ion , is his u n c o n s c i o u s a t t e m p t to l ink the n a t i o n a l to the n a t u r a l ,h is tory tol a n d s c a p e . In the h is tory of the o the r Amer ican a r t s , the re is ara the r d rama t ic tu rn ing po in t when wr i t e r s and pa in te rs d iscover tha t thep a n o r a m a of A m e r i c a n N a t u r e can p rov ide them wi th a canvas la rgee n o u g h , a sub jec t compe l l ing enough , to give scope to the i r na t iona l is t ica sp i ra t ionssome th ing Amer ican h i s to ry , even when done in the g r a n dmanne r , somehow cou ld not do. "A change tha t is long over due s t r ikeswith the force of a r iver tha t hass m a s h e d a dam," w r o t e T h o m a s F l e x n e ra b o u t the i m p a c t of tha t tu rn ing po in t on A m e r ic a n p a i n ti n g . " H y m n s tothe beau ty of the N or th Am er ica n con t inen t flooded from h un dr ed s ofs tud ios ; they were soon jo i ne d by en thus ias t ic dep ic t ions of A m e r i c a nlife. . . . His to r i ca l t r ad i t ion wasb a n k r u p t . " 2 1 No such sudden t rans i t ioncan be identified in m u s i c , yet compose rs we re exposed to the s amein te l lec tua l curren ts , and it is in te re s t ing to seeH e i n r ic h , whoa p p e a r s onthe scene at a b o u t the m o m e n t the r ive r b reaks th rough the dam, t r y i n g tojo in toge the r the m y t hs of h is tor ica l t rad i t ion and the m y t h s of A m e r i c a nN a t u r e .Two examples wi l l i l lus t ra te . The first is aG r a n d O v e r t u r e c al le d To the

Pilgrims (1842) , in f ou r m o v e m e n t s :A D A G I O O T T E T T O . T h e G en iu s of F r e e d o m s l u m b e r i n g inthe Fores t shades of A m e r i c a .A D A G I O S E C U N D O . S h e is awakened into l i fe and ac t ion bythose mov ing me lod ie s wi th wh ich Na tu re rega le sher so l i tudes .M A R C I A . T h e e f f o r t s of P o w e r to clip the wings of the y o u n gEag le of Liber ty .F I N A L E A L L E G R I S S I M O . T h e jo yo us re ig nofun ive rsa l In te l l igence and un ive rsa l F reed om .

Clear ly Heinr ich 's pe rsona l fores t exper ience has he re been t rans fo rm edinto theb i r t h ofA m e r i c a n f r e e d o m , hisperso na l s t ruggle aga ins t adv ers i tyinto the expe r ience of A m er ica n h i s to ry. In 1845, he we lded his NewEngland Feast of Shells, a " d i v e r t i m e n t o p a s t o r a l e o c e a n i c o " b a s e d onresearches in to Ind ian lo re , to the t h r e e " m u s i c a l p o r t r a i t u r e s " t h a t m a d eu p the s y m p h o n y The Mastodontop r o d u c e a fou r -pa r t work cu lm ina t in g inthe Th an ks giv ing feas t:

I . B lack T hu nd e r , the P a t r i a r c h of the Fox T r i b e .I I . The Elk H o r n P y r a m i d , or the Ind ians ' Of fe r ing to the Spiri tof the P ra i r i e .I I I . S h e n a n d o a h , a C e l e b r a t e d O n e i d a Chief.IV . The New E n g l a n d F e a st of She ll s . D ive r t im en to Pas to ra leO c e a n i c o . [ ]1. A N D A N T O . T h e H o m e A d ie us of the N y m p h s andS w a i n s d e p a r t i n g for the m ar i t im e fest iva l.2. A N D A N T I N O . T h e f anciful c u rv e tt in g s of the m e r m a i d s in the ocean surf.

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3 . F I N A L E B R I L L I A N T E . T h e r o m a n d e l o v e f e a s tresu l t ing in the des t ruc t ion of the b iva lves and thesacrifice of the shells (vulgate, " C l a m b a k e " ) ,[sic]H ere a ra m pa n t im ag ina t ion ha s in te r twined p ic tu re sque my th wi thh is tor ic fac t : mermaids cavor t in the ocean surf whi le New EnglandIndians prepare for Thanksgiv ing wi th a c lambake . I t i s the sameimagina t ion tha t had the Wild Wood Spir i t chant the message of f reedomto the P i lg r im Fa thers in the na t iona l o ra tor io .Even gran t ing the premises of p rogram mus ic , how much of a l l th iscould real ly be heard in such works? That Heinrich s trove for truth tohis torical events and emotions , part icularly of the pi lgrim cross ing that soobsessed h im, need no t be doubtedbut how d id a composer pu t " l ibe r tyof con sc ie nce " an d " th e inv io lab i l ity of c iv il r i gh ts " in to an o rches t ra lscore? When he could lean on lyrics , as in his songs and choral se t t ings ,when he could quote "Yankee Doodle" or imi ta te a ban jo s ty le , l i s tenerswould have l i tt le d if ficu lty u nd ers tan din g the com pos er ' s in ten t . Ev en wi thbatt le music , as in the Tecumsehov er tu re , the i r im agin a t ion s could followhow the passages su i ted the program. But could they rea l ly hear the Geniusof Freedom s lumber ing in the fores t shade and wakened to l i fe by Nature?or the efforts of Power to c l ip the young eagle of l iberty? or the ul t imatet r iu m ph of un iv ersa l Fre edo m a nd universa l In te ll igence? or the des t ruc tion of the bivalves and the sacrifice of the shells? Surely this was a largercha l lenge .

ivThat challenge leads me to my final subject , a sampling of responses byaudiences and c r i t ics tha t i l lus t ra te Heinr ich 's impac t on h is age . Much oftha t s to ry is pu re hy perb ole . I t is ins t ruc t iv e , for exam ple , to com pa re theresponses of two c r i t ics to major works by Heinr ich and Freder ic Church .The work tha t He inr ich h imse lf labe led h is g rea tes t , the one "neares t anddeares t to h is hear t" (Upton , 132) , was a symphony ca l led The Ornithologi

cal Com bat of Kings, or} The Condor oftheAndes and the Eagle ofthe Cordilleras,poss ib ly insp i red by h is assoc ia t ion wi th Audubon. The four movementsdescr ibed : The Confl ic t o f the Condor in the Air , The Repose of theCo ndo r , Th e Com ba t of the C on do r on La nd and Vic to ry o f the C ond or .When the f irs t part of the work was performed in Germany in 1836, a cri t icwas impelled to write :. . . H e i nr ich 's m us ic is a da ug hte r o f N atu re , bu t no t o f tha tNature whose quiet , idyll ic grace possesses us a l l unconsciously. Hehas sought ou t Nature in her workshopwhere she produces her mighty works ,where grea t b r idges of rock a re th rown across s t reams;where r ivers , broad as seas , f low out of undiscovered sourcesover hundreds of mi les to the ocean itself;where grea t lakes p lunge wi th deafen ing roar to the depthbelow,

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and the tornado, wi th i t s c rashing s t rength , l ays bare theimpenet rable secre t s of the pr imeval fores t s .If any one objec ts to the powerful ins t ru m en ta t io n . . . it should berem em be red tha t . . . even in ou r own hem isph ere , orches t ra lscores as br oa d as the falls of N iag ar a are no longe r infreq ue nt , an dat any ra te Heinr ich ' s Symphony has not gone so far as to seekre in fo rcement by be ll s and can no n . [ Inden ta t i on m ine . B C](Upton, 144)

That rhapsodic s tyle was a contagion of the age, easi ly adapted to therhe tor ic of admir ing cr i t i cs . Compare the descr ip t ion to one by AdamB a d e a u d e s c r i b i n g C h u r c h ' s p a i n t i n g Niagara twenty- five years l a te r inequal ly poet ic prose:If i t i s inspired by Niagara, i t i s grand and subl ime; i t i s natural

to the nat ion , s ince N at u re herself has given the typ e; it i s wi ld a ndungovernable, mad at t imes, but al l power is terr ible at t imes. I t i sthe effect of va r io us ca uses: i t is a t ru e de ve lop m en t of the A m eri ca nmind; the resul t of democracy, of individual i ty, of the expansion ofeach, of the l iberty allowed to all of ineradicable and lofty quali t iesin h u m a n n a t u r e .I t i s inspired not only by the i r resis t ible cataract , but by themighty forest ,by the thousands of miles of r iver ,by the broad cont inent we ca l l our own,by the onward march of c iv i l i za t ion ,by the conquer ing of savage areas ;charac ter i s t i c a l ike of the wes tern backwoodsman,of the Arct ic explorer ,the so u th er n filibuster,and t he nor the rn merchan t .So, of course, i t gets expression in our ar t .2 2[ I n d e n t a t i o n m i n e . B C ]Apparent ly audiences of the day were qui te capable not only of accept ingthe subjects ar t is ts announced for their works of ar t , but also of "readingin " m ean in gs of t he i r ow n. Th e fundam enta l conv ic t ion was t ha t Am er i can Na tureand in Badeau ' s case , Amer i can po l i t i ca l i dea l sinev i t ab lyaffected th e m in ds of the cit izens of the na t io n, so tha t on e could " r e a d "the inf luence of Nature and cul ture in the work of ar t , whether or not thear t i s t in tended to put i t there . No doubt Church ' s c r i t i c would have beenpleased to know tha t the Germans had a l ready heardN iag ar a in the m usicof H e in r i c h N iaga ra and the M iss is s ipp i , t o rnado es and b r idges andprim ev al forestsall in a work abou t a co nd o r 's bat t le wi th an eagle Bothcri t ics based their conclusions on the assumption that a work of ar t a l lunconsc ious ly expresses the na t ional charac ter . Thei r dec lara t ions revealthe age ' s cas t of mind and i l lus t ra te why programmat ic music was so usefulto express i t s emerging sent iments .

Hyperbole a l so charac ter ized the responses of audiences to Heinr ich ' sconcerts , especial ly the two benefi t concerts of 1846one in New York,one in Bo ston that m ark ed the c l imax of h i s career . Th e N ew York pap ers

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descr ibed the event as " the mos t remarkable , exc i t ing and never- to-befo rgo t t en en te r t a inmen t we have eve r wi tne s sed . " The aud ience rende redi ts op in ion wi th "ye l l ing , s c ream ing , chee r ing , l augh ing and s t a m p in g , "wi th "showers of bouque ts and wrea ths" tossed to the composer a tconcer t ' s end . Poems were wri t ten in h is honor , two of them revea l ing howwell his l is teners had absorbed his lessons: "How shall we crown themins t re l , / W ho has b rough t u s f rom the wi ld , / The me lody tha t na tu re /Taught her f ree -souled mounta in ch i ld?" asked one poe t , dec la r ing tha tH einr ich ha d " L ea rn ed the g lor ious song of l ibe r ty / Fro m th e vo ices of theb r e e z e . " " W h a t if u n h e e d e d b y th e h e a rt le s s t h r o n g ? " a n o t h e r a s k e dH ein r ic h . " W h a t if a t t imes no hopefu l , sun-w arm g leam s/ Bea m on thyc lo u d e d p a t h ? . . . " A n d a n s w e r e d : " T h e n c he e r t h e e , m a s t e r of t h yheaven-born a r t / Thy s t ra ins sha l l f loa t down through the endless years , /. . . T h y n am e wil l f ind a ho m e in every lan d, / . . . In far-off ages willthe re proudly s tand , / To thy grea t sou l , a sac red , cher ished shr ine"(Upton , 189) .Of course , th ings did not turn out that way, and one man s i t t ing in theBos ton audience knew they wouldn ' t . His response provides us wi th theother s ide of the portra i t of the agethe s ide i l l a t ease with both programmu s ic and na t iona li s t ic exp re s s ion . Jo hn Su l livan Dw igh t p ro nou nce dHeinr ich 's 1846 concer ts a fa i lu re , and h is rev iew in the Brook Farmj o u r n a l TheHarbingercam e to in f luence op in ion dur ing " th e endless ye ar s"and "fa r-off ages" more than the op in ion of the c rowds .Mr. Heinr ich be longs to the romant ic c lass , who wish to a t tach as tory to every th ing they do . Mere ou tward scenes and h is tor iesseem to have occupied the mind of the composer too much, and tohave d is turbed the pure spontaneous insp i ra t ion of h is melodies .We are sorry to see such c ircumstances dragged into music as the" I n d i a n W a r C o u n c i l , " th e " A d v a n c e of t he A m e r i c a n s , " " t h eS k i r m i s h " a n d " F a l l of T e c u m s e h . " M u s i c , a i m i n g at n o s u b jec t ,music composed wi th no consc iousness of anyth ing in theworld butm usic , is sure to te ll of gre ater th ings th an th ese (U pt o n,200-201) .

Dwight 's sentiments rose out of his opposit ion to l i tera lness , the too-spec i f ic a t tachment of a r t to i t s sub jec t . As much a Romant ic as Heinr ich ,as much an admire r o f Bee thoven , Dwight was wi l l ing tha t mus ic beinsp i red by Nature and idea l ized . He apprec ia ted the fac t tha t He inr ichwas a "wa rm-hea r ted and l ibe r ty - lov ing en thus ia s t " ( a l though he a l sodescr ibed h im , in tones of to le ra t ion , as " th is eccentric noble -hea r ted m an ,now quite advanced in years , whom it was the fashion to cal l music-mad' ' ) .Dwight thought i t we l l fo r Heinr ich 's mus ic tha t every th ing about Americaand Am er ican h i s to ry was " id e a l " to h im , tha t He in r ich had been in sp i redin the fores t by the Genius of Freedom, tha t the "vanish ing hos ts o f theRed M a n " had min i s t e red to h is "pa s s io n fo r the p i c tu re sq ue . " All th ismight have "coopera ted f ine ly wi th h is mus ica l labors" had he on lycom posed f rom " th e sen t im ent wi th which they filled h i m , " ins tea d oft ry ing to compose tone-narra t ives and tab leaus . His oppos i t ion to

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Heinr ich was based on h is idea of wha t mus ic , to h is mind , was:In efforts to describe things , to paint pic tures to the hearer 'simagina t ion , mus ic leaves i t s na tura l channe ls , and forfe i t s tha t t rueuni ty which would come f rom with in as music. Bee thoven had noprogramme to h is sym pho nies , in ten ded no descr ip t ion , w i th thesingle exception of the Pastorale ; yet , how full of meaning are they

On o ther occas ions , Dwight found reason to pra ise Heinr ich 's works , bu the never backed down on h is b iases . 2 3In a le t te r . to a f r iend , Heinr ich permit ted h is b i t te rness toward Dwight(and toward the incapac i t ies o f the Bos ton orches t ra , which Dwight hadadmit ted) to tumble ou t in sa rcasm. He ca l led Dwight " the Mus ica lPhi losopher of the p lac id Brookfarm, where no cymbals o r the ro l l ing ofdrums d is turb the mus ic of Nature , except , pe rhaps the many pea ls o f the i rgong for their socia l frugal dinners ."

Mr. Dwight is a happywight for he l ives in sunny, serene soli tude a tBrookfarm among the ch i rp ings of some innocent insec ts and theConcerts of the Bullfrogs , the la t ter l ike the symphonies of Beethoven needing no programmes , as speaking for themse lves . . . a l ikeSw ede nb our g wi th the A nge ls . . . . M r. Dw ight i s rea lly ve rydis tantly located from full good orchestras and has probably heardvery l i t t le of orchestra l effects , combinations and profess ionaltact ics . . . . Mr. Dwight judges a great deal by fa i th and musicalsupers t i t ion . He d iscovers so much meaning in Bee thoven . Icongra tu la te h im upon so importan t a d iscovery a t my expense(Up ton , 203 ) .

Under the surface of sa rcasm was a l ine of rebut ta l aga ins t the "mus ica lsupers t i t ion" tha t a l l o rches t ra l mus ic ought to "speak for itself."H einr ich wished to a ff irm the leg i t imacy of p r og ram m us ic and h is r igh t touse complex innovative effects to achieve what his program called for. Thata rgument had been made before h im by Wil l iam Bi l l ings ; i t would bemade after him by Charles Ives . For this and other reasons, Bil l ings andIves a re , in the end , the two composers wi th whom Heinr ich is mos tlog ica l ly comparedand wi th whom he connec ts , in e i ther d i rec t ion , toc rea te a na t ive American mus ica l t rad i t ion .There i s more we need to know about Heinr ich to comple te th is s to ry .Before sketching him in beside Bryant and Cole on the precipice ofD u ra n d ' s pa in t ing , we wi ll need to hea r mo re of h is works perform ed andsubjec ted to compara t ive ana lys is . 2 4 We should know more about h isre l ig ionwhether he accepted , as Cole and Bryant d id , the idea of God 'simmanence in Nature , and how tha t idea a ffec ted h is mus ic . We shouldknow more of wha t he thought about Ind ians and how h is contac t wi ththem affected his m usical pro ce du re s . W e should kno w if he accep ted thetheory of " the subl ime" in Nature and what he was reaching for in some ofh is i n n o v at i ve " e c c e n t r i c " p a s s a g e s . 2 5

But we know enough a l ready to accord h im a more importan t p lace inA m erica n h is tory than he has been gr an ted . He inr ich is no t a m ino r f igure

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worth only pass ing notice for his excesses and fla ir . He is the one composerwho t r ied to do for American mus ic what the landscape pa in te rs d id forpa in t ing , the Nature wri te rs for l i te ra ture , and to make tha t a t tempt wi ththe orchestra . His mystical convers ion in the fores t , h is contacts withIndians and b lacks and na t ive b i rds , h is ab i l i ty to respond more d i rec t ly tosuch native influences than his emigrant colleagues because he was self-taught , h is sens i t iv i ty to the d ia lec t ic be tween America and Europe , andhis efforts to connec t the m yth s of A m eri ca n h is tory to the my th s ofAm er ican Na tu re al l con t r ibu ted to m ake h im un iqu e . Su re ly He in r ichdeserves to be ca l led American mus ic ' s Kindred Spir i t .Ca l i forn ia S ta te Univers i ty , Sacramento

notes1. So successful has Durand 's painting been in conveying a posit ive a tt i tude towardcomm union w ith Am erican wilderness that a contem porary advertise r, the Boise CascadeCompany, has virtually plagiarized from it in order to associate itself with the image (See Figure2, below). Boise Cascade would have us believe, so the ad copy tells us, that it is doing right bythe wilderness as it cuts up trees to produce the paper it wants to sell us. Such ads are one index tothe impact of the environmental movement upon our a t t i tudes toward Nature , one reason for therenewed interes t in nineteenth-century landscape.On the kinship of Bryant and Cole , see Donald A. Ringe, "Bryant and Cole: KindredS p i r i t s , " American Quarterly, 6 (Fall , 1954), 233-244, and "P ai nt in g as Poem in the H udsonRiver Aes the t ic ," American Quarterly, 12 (Spring, 1960) 71-83; Wil l iam Cul len Bryan t I I ,"Poe try and Pa in t ing : A Love Affa i r o f Long Ago," American Quarterly, 22 (Winter, 1970),859-882; and Jam es T . Callow, Kindred Spirits: Knickerbocker Writers and American Artists,1807-1855 (Chapel Hill , 1967). On the kinship between other poets and painters of the era , see

also American Quarterly,32 (Summ er, 1980), 144-185.

FIGURE TW O: Magazine advertisement illus-tration for Boise Cascade Paper Company.Reprinted courtesy of Boise Cascade Corpo-ration.

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2. Perry Mil le r , Nature's Nation (Cambridge, Massachusetts , 1967) and see the essayinscribed to Miller by Albert Gelpi in American Light: The Luminist Movement, 1850-1875, J o h nWilmerd ing , ed . (Wash ing ton , D.C. , 1980) . The phrase I have quo ted is Wilmerd ing ' s ,announcing the purpose of the American Light cata log and exhibit . Barbara Novak 's influentia lbooks are Am erican Painting in the Nineteenth Century (New York, 1969) and Nature and Culture(New York, 1980).3. Wil l iam Trea t Upton , A nthony Philip Heinrich: A Nineteenth-Century Composer in America(New York, 1967 [1939]) is the source for most primary material on Heinrich; it is dedicated toSonneck 's memory, and Sonneck is quoted on p. xi . Unless otherwise indicated, a l l d irectquotations from Heinrich and from program notes are from this edit ion, c i ted in the text as' ' U p t o n . "4. Th e worst offender, in terms of condescension, is Jo hn T asker H ow ard , Our AmericanMusic (New York, 1965 [1929]), 226-227: "His tories of American music have quite neglectedFather H ein rich , and if he is to be judg ed on the las t ing merits of his work, he is hard ly enti t ledto much of a place amo ng ou r com posers. . . . H is friends hailed him as the Beethoven ofAmerica , but the only s imilari ty was that he may have writ ten as many notes ." On the a lbumcover of the recording The Dawning of Music in Kentucky (Vanguard VSD-118 , n .d . ) , He inr ich isdemoted to "The Beethoven of Louisvil le ," a l though he was never so known. Bruce Neely, whoperformed the works and wrote the l iner notes for this a lbum, te l ls me he provided nojustif ication for such a t i t le ; apparently the Vanguard management could not believe he reallywas known as the Beethoven ofAmerica. An es teemed colleague, Daniel Kingman, conductor ofSacramento 's Camellia Orchestra and author o American Music: A Panorama (New York, 1969),has admitted he finds Heinrich 's music too melodramatic and eccentric to be performed"without embarrassment"; H. Wiley Hitchcock told us that New York solved that problem byincluding He inric h on a progr am called "Excessiv e Mu sic " Hitchcock, autho r of Music in theUnited States (Englewood Cliffs, New Jersey, 1969), wrote the intro ducti on to the Da Capo Pressrepr in t o f He inr ich ' s The Dawning of Music in Kentucky (New York, 1967 [1820]).5. On the program note for the Boston concert , Heinrich apologized for his poor voice andforeign accent but explained that he would represent himself in the four verses " musically in thecharacters of the 'Mela nch olis t , ' 'En thu sia s t , ' and the 'Rom an tic ' " and that he would"terminate with a flying cadence." He referred so often to the wilderness experience in le t tersand programs throughout his life that there is every reason to believe he felt the music he hadheard spoke directly to himas well as to the Pilgrims when they came to America . See Upton,82-84, 97, 144-145, 172, 221.6. Music in the United States, 84ff.7 . Richardson , A Short History of Painting in America (New York, 1963 [1956]), 120.8. Hitchcock, Music in the United States, 7 8 , a n d " In t ro d u c t io n " to He in r i c h ' s Dawningcollection. I am also indebted to Dan Kingman for sharing his unpublished manuscript for ashort biography on Heinrich originally intended for his America's Music.9. From the l iner notes to the Vanguard recording; see Note 4 .10.For ins ta nce, he concluded a le t ter to the Balt imore Olio and Musical Gazette,F e b ru a ry 2 1 ,1850, a imed at correcting miss ta tements about his personal l ife , "I conclude by subscribingmyself not the 'Beethoven of the age, ' but s imply the log-house composer of Kentucky." Whenthe term was first used is not known, but it was first quoted by Boston's Euterpeiad, April 13,1822, and afterward repeated a t home and abroad. See Upton, 66-67, 75 , 87, 93, 111, 143, 159.11. In I rv ing Lowens , Music and Musicians in Early America (New York, 1964), 203-211.12 . Se e T he Euterpeiad, or Musical Intelligencer, Joh n Rowe Par ker , ed. (New York, 1977[Boston, 1820-1823]), for April 1822.13 . In Charles C. Perk ins and Jo hn S. Dw ight, History of the Hand el a nd H aydn Society ofBoston, Massachusetts (New York, 1977 [1883, 1913]).14 . In Lowens , 203-211.15 . I located these programs of 1843 in a f i le accompanying Heinrich 's personal scrapbook inthe Library of Congress , Music Divis ion, f i le #ML 95 .H45. There is a general account of hiscomings and goings, his impressive list of acquaintances, and a summary list of his works inDavid Barron 's essay in The New Grove Dictionary of Music and M usicians, Stanley Sodie, ed.(Macmillan, 1980), 441-444.16 . H u n t i n g t o n , The Landscapes of Frederic Church(New Yo rk, 1966), 65.17 . Cole in L. L. Noble , The Life and Works of Thomas Cole(Ca mb ridge , 1964 [1853]).18 . The entire anecdote from Hewitt 's Shadows on the Wall is included by Howard, 230-232(hosti le to Heinrich), but omitted by Upton (sympathetic to Heinrich).

19 . In a le t ter to the Mayor of Washington, in The American Composer Speaks: A HistoricalAnthology, Gilbert Chase, ed. (Baton Rouge, 1966), 41-45. Topical titles for occasional piecesreferring to current events were commonplace during the nineteenth century.20.This and o the r works , inc lud ing the "Log-Hou se So ng" (F igure #2) , appear in He inr ich ' scollection Th eSylviad orMinstrelsy of Nature in the Wilds o f North Am erica, described in Richard J .Wolfe, Secular Music in America, 1801-1825: A B ibliography (New York Publi c Libr ary, 1964),992-993.21 . F lexner ' s , The Light of Distant Skies(New Yo rk, 1954) is a comp anio n v olum e to his ThatWilder Image (Boston, 1962), both titles taken from Bryant's ode to Cole. It contrasts the

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his torical tradit ion (Americans who painted in Europe) with the landscape tradit ion (Americanswho painted in America).22 . Adam Badeau and other rhapsodis ts are quoted a t length in Huntington, 1 , 64-72.23 . U pton , 199. Dw ight 's favorable com ments are quoted by Dav id Barr on in the l iner notesto The Ornithological Combat of Kings, Syracuse Symphony Orchestra (New World Records #208).See a lso my "Fry versus Dwight: American Music 's Debate over Nationali ty ," in a forthcomingissue of American Music, Allen Brit ton, ed.24. The only recordings to date are the tw o c ited in Notes 4 and 2 3, above. Forthco min g fromA-R edit ions is Heinrich, Songs and Choral Music, David Barron, d. , part of the series RecentResearches in American Music, H. Wiley Hi tchcock , ed . (Madison , n .d . ) .2 5 . J . Bun ker Clark has a lso contrib uted to that analysis in his paper, "A n Am ericanOrig ina l : Anthony Ph i l ip He inr ich ' s Piano Sona ta LA BUONA MATTINA," de l ive red to theSonneck Society 's annual meeting, Philadelphia , March 4, 1983. See a lso the three disserta t ionstha t have been wri t ten on He in r ich : Nee ly Bruce , "T he Pian o Mus ic of Anthony Ph i l ip He inr ichConta ined in The Dawning of Music in Kentucky and The WesternMinstrel (D.M.A. , Univers i ty o fI l l ino is , 1971): David Barron , "T he E ar ly Vocal Works of Anthony P h i l ip He i nr ich " ( Ph .D . ,Univers i ty o f I l l ino is, 1972) ; and Wilbur R ichard Mau s t , " T he Symphonies of Anthony Ph i l ipHeinr ich Based on American Themes" (Ph .D. , Ind iana Univers i ty , 1973) .

father heinrich as kindred spirit by betty e chmaj

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